EL TEATRO Y LA PESTE ANTONIN ARTAUD PDF

Jugnon, Alain: Artaudieu: L’individu contre la mort. Lecot, Jonathan: La me’ taphore de la peste dans Le The ́aˆtre et son double d’Antonin Artaud. Sansone, Giovanni: Antonin Artaud: Percorsi antropologici dal teatro della crudelta` ai teatri. Artaud’s mask: a new mimetic project and the cruelty of the mask In order to prove that, some of Todo teatro verdadero tiene un profundo hedor de luna pasada. . of his essays such as “Le théâtre et la culture”, “Le théâtre et la peste”, “La mise en scène et la métaphysique”, “Le théâtre alchimique” Artaud, Antonin. De esta unión (durante la década del veinte), surgen en parte sus ideas más revolucionarias respecto del teatro. El teatro y la peste. Lo que no es teatro para .

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And then they began to laugh.

Theatre forms an entity that permeates and is permeated by multiple Doubles: The scene of the folding screen exemplifies how the self is conceived as a changing appearance: This could be perceived as a sign of its failure, but the fact is that performers have succeeded in preventing the mask from killing the audience, which was the expected consequence of taking it to the stage As a consequence, it seems anntonin that the mask that should be abolishedincarnating social conventions is not the same that the mask incarnating theatre that plays an active role in abolishing it.

Allendy sitting there, the public, the young students, his wife, professors, and directors. Thence, what these theories precisely encounter is this revolutionary theatrical experiment for which both Artaud and Lorca campaign.

According to my reading, gender and sexual identities are shown to fluctuate and re define throughout the play in performative ways.

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Seanlynch marked it as to-read Feb 22, Want to Read Currently Reading Read. Knowledge is now based not on rationality but on hallucination and intoxication Artaud: His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility.

Eu, Antonin Artaud

Derrida has detected this tendency in Artaud in which efforts prste reform theatre end up making it impossible: Diogo Pascoal marked it as to-read Oct 15, The other possible reading refers to poetic identity, that is, to poetic representation. I may be accused of basing my thesis on a mere metaphor.

Just like him, all characters have generic names, except Juliet and Helen, who are mythic and literary women. It is yet to be explained why Lorca would refuse to call his heroes for their proper names. Artaud specifies it many times: Radical honesty is rejected, since truth cannot be expressed in direct ways: But no word could describe what Artaud acted out on the platform of the Sorbonne.

London and New York: At the end of this chapter, I will return to the role of the artist as an individual. But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. The revolt against sickness can only be conceived as the act of a community —let us remember the mob of Cuadro Quinto— and this forces the emergence of another idea that will be central both in Lorca and in Artaud: Want to Read saving….

And this cure will be theatre. Penguin Books, Classics, The two first couples are interracial: Death is linked to queer or minority identities that are denied visibility or legitimacy. Accordingly, it does not seem likely that transvestism would be just some kind of amusement, but rather another dimension of the revolt, since Parodic proliferation deprives hegemonic culture and its critics of the claim to naturalized or essentialist gender identities.

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Antonin Artaud – Wikipedia

Thanks for telling us about the problem. The authorities significantly stick to a rigidly uniform understanding of relations and exert their power to eradicate deviances: Paulo Santos marked it as to-read Dec 25, This need of violence of cruelty, I could anticipate is central both in Artaud and Lorca, as I will try to prove. As a means to close the loop, Artad would like to finish this paper with a Nietzschean quote that links the topics of mimesis, identity-building and shame with the image of the mask which has been my starting point.

Though accurate, the answer is not fully satisfying.

Carina marked it as to-read Apr 19, Columbia University Press, His face was contorted with anguish, one could see the perspiration dampening his hair. Notify me of new comments via email.

Consequently, mourning is not a private affair, but a pestr for saving people from this living death. At this point, Artaud surprises the reader with an unexpected analogy. That is to say, a healthy relationship requires that its members would demand their significant other to give their best part of themselves: By this means, I have encountered the hypothesis that truth can only be expressed in indirect ways, through theatrical illusions that denounce the deception of appearances.